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    Movie Review

    Visceral mother! is an insane metaphorical ride

    Alex Bentley
    Sep 14, 2017 | 4:15 pm
    Visceral mother! is an insane metaphorical ride
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    There are times when you can go to the movies, turn off your brain, and simply enjoy whatever is presented on the screen as what it is. mother!, despite being one of the most insane spectacles in recent film memory, is not one of those films.

    You must pay attention to every second of the film because there literally is not one moment that isn’t represented by metaphor. The logline of the film is “A couple’s relationship is tested when uninvited guests arrive at their home, disrupting their tranquil existence,” but that simple statement does little to prepare you for the craziness it hides.

    Jennifer Lawrence and Javier Bardem play that couple, who live in an idyllic house in the middle of the country. The uninvited guests are Ed Harris, a doctor, and his wife, played by Michelle Pfeiffer. Right from the start, Lawrence is tormented constantly. It begins slowly, with Bardem overruling her reasonable objection to allowing two strangers to stay in their house.

    But things escalate quickly, with Pfeiffer, especially, proving to be the house guest from hell, pushing Lawrence around at every turn. When Lawrence turns to Bardem for support, she receives the equivalent of a shrug, making her feel even more isolated. After the guests’ two sons show up and start a heated argument in the house, that’s when things really go off the rails.

    If you wonder why I’m referring to the characters by the actors’ names, that’s because none of them have real names. The film is heavy with Biblical references, and once you start understanding whom each character represents, the ideas that writer/director Darren Aronofsky tries to impart make a little more sense. A little.

    But even if you’re able to comprehend the film’s metaphors, you’ll still be stunned by the swiftness in which events go from zero to outrageous. Many more people than just the initial houseguests make their way to the house, and each of them treats Lawrence with the same respect she’s gotten up to that point — which is to say, none.

    It’s clear that Aronofsky has a dim view of the worth of humanity, as few, if any, of the people in the film have any redeeming qualities. They wantonly destroy things, run roughshod over Lawrence, and generally cause chaos. Aronofsky is far from the first to proffer an opinion on the destructive nature of humans, but the extent he goes to to express his disdain is impressive.

    Lawrence is put through the wringer by the film, and it’s to her credit that she’s able to modulate her reactions as well as she does. The level of frustration brought on by the other characters indicates how fine a job the other actors — most notably Bardem, Harris, and Pfeiffer — do, as well.

    mother! is a visceral, wild movie that may confound you as much as it entertains you. Aronofosky’s vision may not be for everyone, but it’s a hell of a ride.

    Javier Bardem and Jennifer Lawrence in mother!.

    Javier Bardem and Jennifer Lawrence in mother!
    Photo courtesy of Paramount Pictures
    Javier Bardem and Jennifer Lawrence in mother!.
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    Movie Review

    Amanda Seyfried and Sydney Sweeney go off in trashy film The Housemaid

    Alex Bentley
    Dec 19, 2025 | 12:24 pm
    Amanda Seyfried and Sydney Sweeney in The Housemaid
    Photo courtesy of Lionsgate
    Amanda Seyfried and Sydney Sweeney in The Housemaid.

    Both Amanda Seyfried (the upcoming The Testament of Ann Lee) and Sydney Sweeney (Christy) are starring in movies with Oscar ambitions this year. By sheer coincidence, the two actors are also co-starring in The Housemaid, a thriller coming out within weeks of their more ambitious works, one that is likely to be seen by many more people than those prestige plays.

    Sweeney is given top billing as Millie, a down-on-her-luck ex-convict looking to land any type of job so as not to break her parole. She finds a too-good-to-be-true lifeboat with Nina (Seyfried), who hires her to be a housemaid for her large house on Long Island, where she lives with her husband, Andrew (Brandon Sklenar), and daughter, Cecilia (Indiana Elle).

    After a warm interview, Nina almost immediately becomes highly erratic, whipping back-and-forth between happy-go-lucky and rageful. It seems clear that Nina is suffering from mental health issues, as she’ll often accuse Millie of misplacing or stealing items that she didn’t take. Andrew, apparently used to Nina’s tirades, tries to protect Millie from the worst, something that grows increasingly difficult as Nina ups the ante.

    Directed by Paul Feig (A Simple Favor) and adapted by Rebecca Sonnenshine from the bestselling book by Freida McFadden, the film is likely the trashiest mainstream movie to come out in 2025. The first half of the movie relies not on story but on moments as Nina embodies the word “hysterical” to an unbelievable extent. The resigned acceptance of the abuse by Millie, as well as the saintly patience of Andrew, make almost every scene laughable, as nobody seems to be acting anywhere close to how a person would normally react to such extreme situations.

    The scenes and the performance of Seyfried are so over-the-top, in fact, that it’s clear that the filmmakers are in on the joke. It’s next to impossible not to have a little bit of fun while watching the actors react to outrageous incidents as if nothing is out of the ordinary. The worse Nina acts, the more Millie and Andrew retreat into their chosen roles, and the funnier the film becomes.

    Fans of the book will know that the story changes course, eventually turning into a more stereotypical thriller that also has some relatively gnarly visuals to offer. But the trashiness continues, with Sweeney’s, um, assets repeatedly on display in both clothed and unclothed ways. The sex appeal of the R-rated movie makes it an outlier, as recent studio films have shied away from asking their big stars to disrobe completely.

    Both Seyfried and Sweeney are far from their Oscar hopeful roles here. Seyfried is given free rein to act as brazenly as she pleases, and she takes full advantage of that ability. Sweeney seems to have been told to be much more reserved, and unfortunately that results in too many wooden line readings. Sklenar continues his breakout streak (It Ends with Us, Drop) with a role that allows him to show more range than either Seyfried or Sweeney.

    The Housemaid is an unusual type of movie to be released at a time of year when most films are either those aiming for awards or more family-friendly fare. Despite its many flaws, it’s still an enjoyable watch that features a variety of crazy scenarios not typically seen in movies nowadays.

    ---

    The Housemaid is now playing in theaters.

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